About

Alejandro L. Madrid is author or editor of books and edited volumes about the intersection of modernity, tradition, globalization, and ethnic identity in popular and art music, dance, and expressive culture of Mexico, the US-Mexico border, and the circum-Caribbean. In 2017, he was awarded the Dent Medal for “outstanding contributions to musicology” by the Royal Musical Association and the International Musicological Society. He is the only Ibero-American to have received this award since its inception in 1961. He is also the recipient of top prizes from the Latin American Studies Association, the American Musicological Society, the ASCAP Foundation Deems Taylor/Virgil Thomson Awards, the International Association for the Study of Popular Music-US Branch, and Casa de las Américas, among others, as well as fellowships and grants from the American Council of Learned Societies, the Ford Foundation, and the Fulbright Program. Madrid is currently professor of musicology and ethnomusicology at Cornell University’s Department of Music. He is the editor of the series Currents in Iberian and Latin American Music for Oxford University Press, and is regularly invited as guest professor at universities in Argentina, Chile, Cuba, Mexico, and Uruguay. Most recently, he served as music advisor to acclaimed director Peter Greenaway, whose latest film, Eisenstein in Guanajuato, is set in 1930s Mexico.

Education

The Ohio State University: Ph.D. in Musicology and Comparative Cultural Studies, June 2003. University of North Texas: M. M., emphasis in Musicology, May 1999. State University of New York/Purchase: M. F. A., emphasis in Guitar Performance, May 1995. The Boston Conservatory of Music: B. M., emphasis in Guitar Performance, cum laude, December 1992.

Publications

Books:
  • In Search of Julián Carrillo and Sonido 13. Series Editor Walter Clark. New York: Oxford University Press, 2015.
  • Danzón. Circum-Caribbean Dialogues in Music and Dance. Series Editor Walter Clark. New York: Oxford University Press, 2013. [Co-authored with Robin D. Moore]
  • Music in Mexico. Experiencing Music, Expressing Culture. Series Editors Bonnie Wade and Patricia Campbell. New York: Oxford University Press, 2013.
  • Sounds of the Modern Nation. Music, Culture and Ideas in Post-Revolutionary Mexico. Series Editor Peter Manuel. Philadelphia: Temple University Press, 2009.
  • Nor-Tec Rifa! Electronic Dance Music from Tijuana to the World. Series Editor Walter Clark. New York: Oxford University Press, 2008.
  • Los sonidos de la nación moderna. Música, cultura e ideas en el México post-revolucionario, 1920-1930. Havana, Cuba: Casa de las Américas, 2008.
Edited Collections:
  • Experimentalisms in Practice. Music Perspectives from Latin America. New York: Oxford University Press, 2018. [Co-edited with Ana R. Alonso Minutti and Eduardo Herrera].
  • Transnational Encounters. Music and Performance at the U.S.-Mexico Border. New York: Oxford University Press, 2011.
  • Postnational Musical Identities. Cultural Production, Distribution and Consumption in a Globalized Scenario. Lanham, MD: Lexington Books, 2008. [Co-edited with Ignacio Corona].
Articles in refereed journals:
  • Secreto a voces: Excess, Vocality, and Jotería in the Performance of Juan Gabriel.” GLQ: A Journal of Lesbian and Gay Studies, Vol. 24, No. 1 (2018): 85-111.
  • “Landscapes and Gimmicks from the ‘Sounded City’: Listening for the Nation at the Sound Archive.” Sound Studies. An Interdisciplinary Journal, Vol. 2, No. 2 (2016): 119-136.
  • “Sonares dialécticos y política en el estudio posnacional de la música,” Revista Argentina de Musicología, No. 11 (2010): 17-32.
  • “Why Music and Performance Studies? Why Now? An Introduction to the Special Issue / ¿Por qué estudios de performance? ¿Por qué ahora? Una introducción al dossier.” Trans. Revista Transcultural de Música, No. 13 (2009).
  • “The Sounds of the Nation: Visions of Modernity and Tradition in Mexico’s First National Congress of Music.” Hispanic American Historical Review, Vol. 86, No. 4 (2006): 681-706.
  • “Dancing with Desire. Cultural Embodiment and Negotiation in Tijuana’s Nor-tec Music and Dance.” Popular Music, Vol. 25, No. 3 (2006): 383-399.
  • “Reapropiación y estética kitsch en ‘Tijuana Makes Me Happy’ del Colectivo Nortec.” Brújula. Revista Interdisciplinaria Sobre Estudios Latinoamericanos, Vol. 5. No. 1 (2006): 177-185.
  • “Imagining Modernity, Revising Tradition. Nor-tec Music in Tijuana and Other Borders.” Popular Music and Society, Vol. 28, No. 5 (2005): 595-618.
  • “Navigating Ideologies in ‘In-Between’ Cultures. Signifying Practices in Nor-tec Music.” Latin American Music Review, Vol. 24, No. 2 (2003): 270-286.
  • “Transculturación, performatividad e identidad en la Sinfonía No. 1 de Julián Carrillo.” Resonancias, No. 12 (2003): 61-86.
  • “Prácticas de significación e identidad. Los estudios culturales y la musicología.” Fragmentos de cultura, Vol. XII, No. 5 (2002): 905-910.
  • “Modernismo, futurismo y kenosis: las canciones de Átropo según Julián Carrillo y Carlos Chávez.” Heterofonía, Vol. XXXIII, No.123 (2000): 89-110.
  • “¿Influencias o elementos de retórica?: aspectos de centricidad en la obra de Silvestre Revueltas.” Heterofonía, Vol. XXXIII, No. 122 (2000): 19-38.
  • “De México, concierto para Andrés Segovia: una visita al Concierto del sur de Manuel M. Ponce.” Heterofonía, Vol. XXXI, No. 118-119 (1998): 106-117.
Invited articles appearing in academic journals:
  • “Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in U.S. Academia.” Journal of Music History Pedagogy, 7, No. 2 (2017): 124-129.
  • “Cuestiones de género: el danzón como un complejo de performance,” Boletín Música, No. 42-43 (2016) [co-authored with Robin Moore]: 3-55.
  • “Cantar la negritud: capeyuye e identidad mascoga en la frontera México-Estados Unidos,” Boletín Música, No. 32 (2012): 3-22.
  • “American Music in Times of Postnationality,” Journal of the American Musicological Society, Vol. 63, No. 3 (2011): 699-703.
  • “El Centro Mexicano para la Música y las Artes Sonoras y el dilema de la permanencia en México,” Pauta, No. 110 (2009): 75-78.
  • “Los sonidos de la nación moderna. El Primer Congreso Nacional de Música en México,” Boletín Música, No. 18 (2007): 18-31.
  • “Los loops de Nor-tec. Reflexiones sobre el trabajo de campo en la frontera México-Estados Unidos,” Boletín Música, No. 11-12 (2003): 31-45.
  • “El continuo proceso de intercambio cultural: Leo Brouwer y La espiral eterna,” Pauta, Vol. XVI, No. 66 (1998): 67-77.
Articles appearing in edited volumes:
  • “Experimentalism as Estrangement: Café Tacvba’s Revés/Yosoy,” in Experimentalisms in Practice. Music Perspectives from Latin America, ed. by Ana R. Alonso Minutti, Eduardo Herrera, and Alejandro L. Madrid. New York: Oxford University Press, 2018. [Co-authored with Pepe Rojo].
  • “Más que ‘tontas canciones de amor’: Sentimentalismo cosmopolita en la balada romántica de México en los 1970s y 1980s,” in Canção romantica. Intimidade, mediação e identidade na América Latina, ed. by Martha Ulhoa and Simone Luci Pereira, 47-69. Rio de Janeiro: Folio Digital, 2016.
  • “Renovation, Rupture, and Restoration: The Modernist Musical Experience in Latin America,” in The Modernist World, ed. by Stephen Ross and Allana C. Lindgren, 409-416. New York and London: Routledge, 2015.
  • “Rigo Tovar, Cumbia, and the Transnational Grupero Boom,” in Cumbia!: Scenes of a Migrant Latin American Music Genre, ed. by Héctor Fernández L’Hoeste and Pablo Vila, 105-118. Durham, NC: Duke University Press, 2013.
  • “Retos multilineales y método prolépsico en el estudio posnacional del nacionalismo musical,” in Discursos y prácticas musicales nacionalistas (1900-1970): España, Argentina, Cuba, México, ed. by Pilar Ramos López, 161-172. Logroño: Universidad de La Rioja, 2012.
  • “Music, Media Spectacle, and the Idea of Democracy. The Case of DJ Kermit’s ‘Gober,’” in Media, Sound, and Culture in Latin America and the Caribbean, ed. by Alejandra Bronfman and Andrew G. Wood, 71-84. Pittsburgh: University of Pittsburgh Press, 2012.
  • “Transnational Musical Encounters at the U.S.-Mexico Border: An Introduction,” in Transnational Encounters. Music and Performance at the U.S.-Mexico Border, ed. by Alejandro L. Madrid, 1-16. New York: Oxford University Press, 2011.
  • “Transnational Identity, the Singing of Spirituals, and the Performance of Blackness among Mascogos,” in Transnational Encounters. Music and Performance at the U.S.-Mexico Border, by Alejandro L. Madrid, 171-190. New York: Oxford University Press, 2011.
  • “Dancing with Desire. Cultural Embodiment and Negotiation in Tijuana’s Nor-tec Music and Dance,” in Electronica, Dance and Club Music, ed. by Mark J. Butler. Surrey: Ashgate, 2011.
  • “Transnational Cultural Translations and the Meaning of Danzón across Borders,” in Performance in the Borderlands, ed. by Ramón H. Rivera-Servera and Harvey Young, 37-57. New York: Palgrave Macmillan, 2010.
  • “Música y nacionalismos en Latinoamérica,” in A tres bandas. Mestizaje, sincretismo e hibridación en el espacio sonoro iberoamericano (s. XVI-s. XX), ed. by Albert Recasens and Christian Spencer Espinoza, 227-235. Madrid: SEACEX, 2010.
  • “Ideology, Flux, and Identity in Tijuana’s Nor-tec Music,” in Postnational Musical Identities. Cultural Production, Distribution and Consumption in a Globalized Scenario, ed. by Ignacio Corona and Alejandro L. Madrid, 99-117. Lanham, MD: Lexington Books, 2008. [Co authored with Ignacio Corona].
  • “Introduction: The Postnational Turn in Music Scholarship and Music Marketing,” in Postnational Musical Identities. Cultural Production, Distribution and Consumption in a Globalized Scenario, ed. by Ignacio Corona and Alejandro L. Madrid, 3-22. Lanham, MD: Lexington Books, 2008. [Co-authored with Ignacio Corona].
  • “La musicología y los estudios culturales: La Sinfonía No. 1 de Julián Carrillo como composición performativa,” in Cima y Sima: La acción multidisciplinaria en la musicología, comp. by Gonzalo Castillo. Zacatecas: Plaza y Valdés, 2007.
Book Reviews
  • Música Norteña. Mexican Migrants Creating a Nation between Nations, by Cathy Ragland, in the world of music (new series), Vol. 1. No. 1 (2012).
  • Reggaeton, ed. by Raquel Z. Rivera, Wayne Marshall, and Deborah Pacini Hernandez, in Dancecult: Journal of Electronic Dance Music Culture, Vol. 1, No. 2 (2010).
  • The Singing of the New World: Indigenous Voice in the Era of European Contact, by Gary Tomlinson, in Hispanic American Historical Review, Vol. 88, No. 4 (2008) [With Cristián Roa de la Carrera].
  • Otra visión de la música popular cubana, by Leonardo Acosta, in Latin American Music Review, Vol. 28, No. 2 (2007). [With Liliana González Moreno].
  • Musical Ritual in Mexico City. From the Aztec to NAFTA, by Mark Pedelty, in Hispanic American Historical Review, Vol. 87, No. 2 (2007).
  • Timba. The Sound of the Cuban Crisis, by Vincenzo Perna, in Ethnomusicology, Vol. 51, No. 2 (2007). [With Liliana González Moreno].
  • Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing, by Margaret E. Dorsey, in Latino Studies, Vol. 5, No. 1 (2007).
  • El mar de los deseos. El caribe hispano musical: historia y contrapunto, by Antonio García de León Griego, in the world of music, Vol. 47, No. 3 (2005).
  • Jefe de jefes. Corridos y narcocultura en México, by José Manuel Valenzuela, in Ethnomusicology, Vol. 49, No. 2 (2005).
Recording Reviews:
  • Julián Carrillo. Seis casi-sonatas en cuartos de tono para violoncello solo, Jimena Giménez Cacho, cello, in Latin American Music Review, 30, No. 1 (2009).
  • Guitarra de Cristal. Contemporary Cuban Music for the Guitar, Anton Machleder, guitar, in Latin American Music Review, Vol. 27, No. 1 (2006).
Encyclopedia and Bibliography Entries:
  • “Mexico,” in Oxford Bibliographies — Music, ed. by Bruce Gustafson. New York: Oxford University Press, 2015 <http://www.oxfordbibliographies.com/view/document/obo-9780199757824/obo-9780199757824-0025.xml?rskey=P4hSAJ&result=104&gt;
  • “Nortec,” in Bloomsbury Encyclopedia of Popular Music of the World, ed. by John Shepherd and David Horn. London and New York: Bloomsbury Academic, 2014.
  • “Capeyuye,” “Julieta Venegas,” and “Rigo Tovar,” in The Grove Dictionary of American Music, 2nd edition, ed. by Charles Garrett. New York: Oxford University Press, 2013.
  • “Francis Schwartz” and “Roberto Sierra” in Die Musik in Geschichte und Gegenwart, 2nd edition. Kassel: Bärenreiter, 2006.
Other Writing:
  • “Constellations of Anarchy: Making Sense of the (Post-)Nation through Sound,” Fear Anger Love — CTM Magazine (2017).
  • “Loops de cultura e identidad en la música de Nor-Tec,” Contratiempo, No. 85 (2011).
  • “Music and Performance in the Nortec Collective’s Border Aesthetic,” Review: Literature and Arts of the Americas, Vol. 42, No. 78 (2009).
  • Liner Notes. Tañendo recio. Música para guitarra. Pablo Gómez, guitar and Juan Trigos, conductor, Camerata de las Américas. Quindecim Recordings (2001).
  • Liner Notes. De pura cepa. Manuel Rubio, guitar. Ars Fluentis Records (2000).
  • “Rafael Adame: A Biographical Sketch and an Aesthetic Appraisal,” Introduction to Rafael Adame, Concierto clásico for Guitar and Orchestra (Columbus: Editions Orphee, 2000).
  • “10 compositores mexicanos y el posmodernismo,” Viceversa, No. 69 (1999).
  • “Rafael Adame e il primo concerto per chitarra e orchestra del XX secolo,” Guitart, Vol. III, No. 12 (1998).
  • “Rafael Adame and the First Guitar Concerto of the Twentieth Century,” Gendai Guitar Magazine, Vol. 32, Nos. 4 and 6 (1998).
  • “La Missa brevis de Mario Lavista,” Viceversa, No. 67 (1998).
  • Cutting a Path to the Twenty-First Century: A Conversation with David Starobin,” Soundboard, Vol. XIV, No. 2 (1997).
  • “Samuel Zyman: A Mexican Composer in New York,” Soundboard, Vol. XXII, No. 3 (1996).
  • “Leandro Espinosa: A Voice from the North,” Soundboard, Vol. XXII, No. 1 (1995).
  • “Jorge Ritter Navarro: The Poetry in the Hand’s Movements,” Soundboard, Vol. XX, No. 3 (1994).
  • “Ernesto García de León: A Mexican Way of Continuing the Guitar Music Tradition,” Soundboard, Vol. XX, No. 2 (1993).

Projects

  • An ethnographic biography of Cuban-American composer, conductor, and pedagogue Tania León
  • Transcription, performance, and recording of Julián Carrillo’s complete chamber works for strings (in collaboration with the Momenta Quartet).
  • Homophobia, masculinity and popular music and culture in Greater Mexico.
  • Sound archives, listening, knowledge, and the Lettered City in Latin American.

Upcoming Talks and Conferences

  • “The Importance of Being from ‘The Other Side’: Music, Estrangement, and Border Studies in the 21st Century.” Music Colloquium Series. Department of Music, University of Pennsylvania, Philadelphia, Pennsylvania, February 13, 2018.
  • “The Importance of Being from ‘The Other Side’: Music, Estrangement, and Border Studies in the 21st Century.” Keynote lecture. Music and Borders Conference. Society for Music Research. University of Michigan, Ann Arbor, Michigan, March 10-11, 2018.
  • “Betwwen Mascogo and Afro-Seminole: Capeyuye, Blackness, and Citizenship at the U.S.-Mexico Border.” Arts and Culture on the U.S.-Mexico Border: 2000 Miles of Imagination that Unite and Divides Us. Arts West Program. Stanford University, Stanford, California, May 18, 2018.
  • “La importancia de ser ‘del otro lado’. Música, extrañamiento y estudios de frontera en el siglo veintinuo.” Keynote lecture. XIII Conference of the International Association for the Study of Popular Music (IASPM)-Latin America, San Juan, Puerto Rico, June 11-16, 2017.
  • “The Importance of Being from ‘The Other Side’: Music, Estrangement, and Border Studies in the 21st Century.” Edward Dent Lecture. 54th Annual Conference of the Royal Musical Association. University of Bristol, Bristol, United Kingdom, September 13-15, 2018.
  • ¡Que enorme martirio la simetría!: A Case for Metric Modulation in Julián Carrillo’s String Quartets Nos. 4 (1932) and 5 (1937). ” 41st Annual Meeting of the Society for Music Theory (SMT), San Antonio, Texas, November 1-4, 2018.
  • “Julián Carrillo’s String Quartets. A Lecture-Recital with the Momenta Quartet.” La Música de México Series at the Mexican Cultural Institute. Washington DC, December 6, 2018.

Memberships

American Musicological Society Society for Ethnomusicology International Association for the Study of Popular Music Latin American Studies Association

Alejandro L. Madrid

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